Aitken, Ian, Realist Film Theory and Cinema: The Nineteenth-Century Lukácsian and Intuitionist Realist Traditions (Manchester University Press 2006) <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5662274370002746&institutionId=2746&customerId=2745>
Aldgate, Anthony, Censorship and the Permissive Society: British Cinema and Theatre, 1955-1965 (Clarendon Press 1995)
Aldgate, Anthony and Richards, Jeffrey, Best of British: Cinema and Society from 1930 to the Present, vol Cinema and society series (New ed, IBTauris 2009) <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10424556>
Allen M, ‘Fixing It in Digital: Chapter’, Contemporary US cinema, vol Inside film (Longman 2003)
Altman, Rick, Cinema/Sound, vol Yale french studies (Yale French Studies 1980)
——, Sound Theory, Sound Practice, vol AFI film readers (Routledge 1992)
Anderson, Lindsay and others, ‘This Sporting Life’
Anderson, Lindsay, Owen, Alun, and Ford Motor Company, ‘Every Day except Christmas’
Andrew, Dudley, André Bazin (Columbia University Press 1990)
——, What Cinema Is!: Bazin’s Quest and Its Charge, vol Blackwell manifestos (Wiley-Blackwell 2010)
Andrew, Dudley and Joubert-Laurencin, Hervé, Opening Bazin: Postwar Film Theory and Its Afterlife (Oxford University Press 2011)
Andrews D, ‘Pursuing Cinema in the Twenty-First Century: Chapter’, What cinema is!: Bazin’s quest and its charge, vol Blackwell manifestos (Wiley-Blackwell 2010)
Antonioni, Michelangelo, Bosé, Lucia, and Girotti, Massimo, ‘Cronaca Di Un Amore =: The Story of a Love Affair’
Armstrong R, ‘What Is Realism?: Chapter’, Understanding realism, vol Understanding the moving image (BFI 2005)
Arnold, Andrea, Dickie, Kate, and Curran, Tony, ‘Red Road’
Austin, Thomas, Watching the World: Screen Documentary and Audiences (Manchester University Press 2007) <http://site.ebrary.com/lib/leicester/Doc?id=10627215>
Badley L, ‘Danish Dogma: “Truth” and Cultural Politics: Chapter’, Traditions in world cinema, vol Traditions in world cinema (Edinburgh University Press 2006) <https://blackboard.le.ac.uk/bbcswebdav/pid-235254-dt-content-rid-713308_5/library/eReserves/HA1114/HA1114%20-%20Doc%2018.pdf>
Badley, Linda, Lars von Trier, vol Contemporary film directors (University of Illinois Press 2011) <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5663774820002746&institutionId=2746&customerId=2745>
Bainbridge, Caroline, The Cinema of Lars von Trier: Authenticity and Artifice, vol Directors’ cuts (Wallflower 2007)
Baker M, ‘Errol Morris, American Iconoclast: Chapter’, Documentary in the digital age (Elsevier Focal 2006)
Barr, Charles and British Film Institute, All Our Yesterdays: 90 Years of British Cinema (BFI Publishing 1986)
Barsam R and Monahan D, ‘Sound: Chapter’, Looking at Movies (WW Norton & Co 11AD)
Bay M, ‘Pearl Harbor’
Bazin A, ‘Evolution of the Language of Cinema’, Film Theory and Criticism (Oxford University Press 2008) <https://blackboard.le.ac.uk/bbcswebdav/pid-1025237-dt-content-rid-2561166_5/library/eReserves/HA1114/HA1114_34955.pdf>
Bazin, André, What Is Cinema?: Volume 2 (University of California Press 1992)
Bazin, André and Cardullo, Bert, Bazin at Work: Major Essays and Reviews from the Forties and Fifties (Routledge 1997)
——, André Bazin and Italian Neorealism (Continuum 2011) <http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com/detail.asp?id=330775>
Bazin, André and Gray, Hugh, What Is Cinema?: Volume 1 (University of California Press 1992)
Beattie, Keith, D. A. Pennebaker, vol Contemporary film directors (University of Illinois Press 2011) <http://site.ebrary.com/lib/leicester/Doc?id=10532354>
Beck J, ‘Citing the Sound’ (2002) 29 Journal of Popular Film and Television 156
Belton J, ‘Technology and Aesthetics of Film Sound: Chapter’, Film sound: theory and practice (Columbia University Press 1985) <https://blackboard.le.ac.uk/bbcswebdav/pid-1025238-dt-content-rid-2557301_5/library/eReserves/HA1114/HA1114_34957.pdf>
Benson, Thomas W. and Anderson, Carolyn, Reality Fictions: The Films of Frederick Wiseman (2nd ed, Southern Illinois University Press 2002)
Berthelsen, Anders W. and others, ‘Mifunes Sidste Sang’
Bier, Susanne, Mikkelsen, Mads, and Richter, Sonja, ‘Elsker Dig for Evigt =: Open Hearts’
Bondanella, Peter, The Films of Roberto Rossellini, vol Cambridge film classics (Cambridge University Press 1993)
Bordwell D, ‘Against the Seventh Art: André Bazin and the Dialectical Program: Chapter’, On the history of film style (Harvard University Press 1997)
Bordwell D and Thompson K, ‘Function of Film Sound: A Man Escaped: Chapter’, Film art: an introduction (7th edn, McGraw-Hill 2004)
——, ‘The Thin Blue Line: Chapter’, Film art: an introduction (7th ed, McGraw-Hill 2004)
——, ‘Sound in the Cinema: Chapter’, Film art: an introduction (10th ed., international ed, McGraw-Hill 2013)
Brando, Marlon and others, ‘Apocalypse Now Redux’
Bresson R, ‘The Devil, Probably’
——, ‘Mouchette’
——, ‘Pickpocket’
——, ‘Un Condamné à Mort s’est Échappé, Ou, Le Vent Souffle Où Il Vent =: A Man Escaped’
Bresson R, Balsan H and Simon L, ‘Lancelot Du Lac’
British Film Institute, ‘Free Cinema One, Free Cinema Three’
——, ‘Free Cinema Six’
Broomfield, Nicholas, ‘Monster in a Box’
——, ‘The Leader, His Driver, and the Driver’s Wife’
——, ‘Proud to Be British’
——, ‘Chicken Ranch’
——, ‘His Big White Self’
——, ‘Tracking down Maggie’
Broomfield, Nicholas and Churchill, Joan, ‘Soldier Girls’
——, ‘Juvenile Liaison’
——, ‘Tattooed Tears’
——, ‘Aileen: Life and Death of a Serial Killer’
Broomfield, Nicholas and Wood, Jason, Nick Broomfield: Documenting Icons (Faber and Faber 2005)
Bruzzi, Stella, New Documentary: A Critical Introduction (2nd ed, Routledge 2006) <http://ezproxy.lib.le.ac.uk/login?url=http://www.myilibrary.com?id=55327>
Caouette, Jonathan, Van Sant, Gus, and Mitchell, John Cameron, ‘Tarnation’
Cardullo B, Five French Filmmakers: Renoir, Bresson, Tati, Truffaut, Rohmer : Essays and Interviews (Cambridge Scholars 2008)
——, ‘New Romanian Cinema: Chapter’, European directors and their films: essays on cinema (Scarecrow Press, Inc 2012) <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664781010002746&institutionId=2746&customerId=2745>
Cardullo, Bert, Vittorio De Sica: Director, Actor, Screenwriter (McFarland 2002)
——, Cinematic Illusions: Realism, Subjectivity, and the Avant-Garde (Cambridge Scholars 2008)
——, Soundings on Cinema: Speaking to Film and Film Artists, vol SUNY series, horizons of cinema (State University of New York Press 2008)
Casetti F, ‘Cinema and Reality: Chapter’, Theories of cinema, 1945-1995 (University of Texas Press 1999)
Celli, Carlo and Cottino-Jones, Marga, A New Guide to Italian Cinema, vol Italian and Italian American studies (1st ed, Palgrave Macmillan 2007) <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10167438>
Chaudhuri S, ‘Dogme Brothers: Lars von Trier and Thomas Vinterberg: Chapter’, New punk cinema, vol Traditions in world cinema (Edinburgh University Press 2005) <https://blackboard.le.ac.uk/bbcswebdav/pid-529725-dt-content-rid-641597_5/library/eReserves/HA1114/HA1114%20-%20Doc%2015.pdf>
——, ‘Scandinavian Cinema: Chapter’, Contemporary world cinema: Europe, the Middle East, East Asia and South Asia (Edinburgh University Press 2005)
Chion, Michel and Gorbman, Claudia, Audio-Vision: Sound on Screen (Columbia University Press 1994)
Clayton, Jack and others, ‘Room at the Top’
Coppola FF, ‘Apocalypse Now’
Corbijn, Anton, Riley, Sam, and Morton, Samantha, ‘Control’
Corner, John, The Art of Record: A Critical Introduction to Documentary (Manchester University Press 1996)
Cousins, Mark and Macdonald, Kevin, Imagining Reality: The Faber Book of Documentary (Rev ed, Faber 2006)
Cruise, Tom, Foxx, Jamie, and Mann, Michael, ‘Collateral’
Cuarón A, Clooney G and Bullock S, ‘Gravity’
Cuarón, Alfonso and others, ‘Children of Men’
Cunneen JE, Robert Bresson: A Spiritual Style in Film (Continuum International Pub Group 2003)
Cunningham, Megan, The Art of the Documentary: Ten Conversations with Leading Directors, Cinematographers, Editors, and Producers, vol Voices that matter (New Riders 2005)
Curry RR, ‘Errol Morris’ Construction of Innocence in “The Thin Blue Line”’ (1995) 49 Rocky Mountain Review of Language and Literature
Daldrey S, ‘Billy Elliot (Special Edition)’
Dave, Paul, Visions of England: Class and Culture in Contemporary Cinema, vol Talking images series (Berg 2006) <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10375890>
De Jong, Wilma, Austin, Thomas, and De Jong, Wilma, Rethinking Documentary: New Perspectives and Practices (Open University 2008) <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10246334>
——, Rethinking Documentary: New Perspectives and Practices (Open University 2008) <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10246334>
De Palma B, ‘Blow Out’
De Santis, Giuseppe, Dowling, Doris, and Gassman, Vittorio, ‘Riso Amaro =: Bitter Rice’
De Sica, Vittorio and others, ‘I Bambini Ci Guardano =: The Children Are Watching Us’
——, ‘Miracolo a Milano =: Miracle in Milan’
——, ‘Umberto D.’
Deleuze, Gilles, Cinema: 2: The Time-Image (The Athlone Press 1989)
Dixon, Wheeler W. and Foster, Gwendolyn Audrey, 21st Century Hollywood: Movies in the Era of Transformation (Rutgers University Press 2011) <http://site.ebrary.com/lib/leicester/Doc?id=10535582>
Drew, Robert and others, Primary, vol Robert Drew collection (Docurama 1960)
Druick Z, ‘The Courtroom and the Closet in The Thin Blue Line and Capturing the Friedmans’ (2008) 49 Screen 440
Durgnat, Raymond, A Mirror for England: British Movies from Austerity to Affluence, vol BFI silver (2nd ed, BFI 2011)
Dylan, Bob, Pennebaker, D. A., and Neuwirth, Bob, ‘Don’t Look Back’
Eastwood, Clint and others, ‘Flags of Our Fathers’
Eaton, Michael, Anthropology, Reality, Cinema: The Films of Jean Rouch (British Film Institute 1979)
Eisenstein S, Pudovkin V and Alexandrov G, ‘Statement on Sound: Chapter’, Film theory and criticism: introductory readings (7th ed, Oxford University Press 2008)
Eisenstein, Sergei, Vassiliev, Dmitri, and Cherkasov, Nikolaĭ, ‘Aleksandr Nevsky =: Alexander Nevsky’
Eltringham B, ‘This Is Not A Love Song’
Fabe M, ‘Italian Neorealism: De Sica’s The Bicycle Thief: Chapter’, Closely watched films: an introduction to the art of narrative film technique (University of California Press 2004)
Fabrizi, Aldo and others, Roma, Citta Aperta =: Rome, Open City, vol Roberto Rossellini’s war trilogy (Special edition, Criterion 1945)
Fabrizi, Aldo and Rossellini, Roberto, ‘Roma, Citta Aperta =: Rome, Open City’
Fallon C, ‘Several Sides of Errol Morris’ (2012) 65 Film Quarterly 48
Farnell, Andy, Designing Sound (MIT Press 2010) <http://site.ebrary.com/lib/leicester/Doc?id=10562043>
Fassbender M, Jarvis K and Arnold A, ‘Fish Tank’
Fauchois, René, Renoir, Jean, and Simon, Michel, ‘Boudu Sauvé Des Eaux =: Boudu Saved from Drowning’
Fincher, David, Gyllenhaal, Jake, and Downey, Robert, ‘Zodiac’
Forbes, Bryan and others, ‘The L-Shaped Room’
Forgacs, David, Rome Open City (Roma Città Aperta), vol BFI film classics (British Film Institute 2000)
Forrest D, ‘Twenty First Century Social Realism: Shane Meadows and New British Realism: Chapter’ in Martin Fradley, Sarah Godfrey and Melanie Williams (eds), Shane Meadows: critical essays (Edinburgh University Press 2013) <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665222270002746&institutionId=2746&customerId=2745>
Friedberg A, ‘The End of Cinema: Multimedia and Technological Change: Chapter’, Reinventing film studies (Arnold 2000)
Fuller G, ‘Boys to Men: Shane Meadows Caps His 10-Year Exploration of Working-Class Masculinity in Crisis with This Is England’ 43 Film Comment
Gardner, Colin, Karel Reisz, vol British film makers (Manchester University Press 2006)
Geiger, Jeffrey, American Documentary Film: Projecting the Nation (Edinburgh University Press 2011) <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5663962600002746&institutionId=2746&customerId=2745>
Geuens J, ‘Dogma 95: A Manifesto for Our Times’ (2001) 18 Quarterly Review of Film and Video 191
Geuens J-P, ‘Sound: Chapter’, Film production theory, vol SUNY series, cultural studies in cinema/video (State University of New York Press 2000) <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664950710002746&institutionId=2746&customerId=2745>
Giovacchini, Saverio and Sklar, Robert, Global Neorealism: The Transnational History of a Film Style (University Press of Mississippi 2011) <http://site.ebrary.com/lib/leicester/Doc?id=10508856>
Godeanu-Kenworthy O and Popescu-Sandu O, ‘From Minimalist Representation to Excessive Interpretation: Contextualizing 4 Months, 3 Weeks and 2 Days’ (2014) 44 Journal of European Studies 225
Gomery D and Allen RC, ‘Case Study: The Beginnings of American Cinema Verité: Chapter’, Film history: theory and practice (McGraw-Hill 1985)
Gomery, Douglas, The Coming of Sound: A History (Routledge 2005) <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664089160002746&institutionId=2746&customerId=2745>
Gordon, Robert Samuel Clive, Bicycle Thieves, vol BFI film classics (BFI 2008)
Gottlieb, Sidney, Roberto Rossellini’s Rome Open City, vol Cambridge film handbooks (Cambridge University Press 2004)
Grierson, John, ‘First Principles of Documentary’, Grierson on documentary (Abridged ed, Faber 1979)
Gunning T, ‘Moving Away from the Index: Cinema and the Impression of Reality: Chapter’, The film theory reader: debates and arguments (Routledge 2010)
Hall J, ‘Realism as a Style in Cinema Verite: A Critical Analysis of “Primary”’ (1991) 30 Cinema Journal
Hall S, ‘BFI Screenonline: Meadows, Shane (1973-) Biography’ <http://www.screenonline.org.uk/people/id/461763/>
Hallam J, ‘Film, Class and National Identity: Re-Imagining Communities in the Age of Devolution: Chapter’, British cinema: past and present (Routledge 2000)
Hallam, Julia and Marshment, Margaret, Realism and Popular Cinema, vol Inside popular film (Manchester University Press 2000)
Hanson, Matt, The End of Celluloid: Film Futures in the Digital Age (RotoVision 2004)
Harper M, ‘Adaptation by Degree: A Study of Vittorio de Sica’s Bicycle Theives: Chapter of Impure Cinema’, Impure Cinema: Intermedial and Intercultural Approaches to Film (IBTauris & Co Ltd 30AD) <http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com?id=548399>
Harper, Sue and Porter, Vincent, British Cinema of the 1950s: The Decline of Deference (Oxford University Press 2007)
Hart SM, Latin American Cinema (Reaktion Books 2014) <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5663029690002746&institutionId=2746&customerId=2745>
Hayward S, ‘Realism: Chapter’, Cinema studies: the key concepts, vol Key concepts series (2nd ed, Routledge 2000)
Henckel von Donnersmarck F, Mühe U and Koch S, ‘Das Leben Der Anderen =: The Lives of Others’
Higson A, ‘Space, Place, Spectacle: Landscape and Townscape in the “Kitchen Sink” Film: Chapter’, Dissolving views: key writings in British cinema, vol Rethinking British cinema (Cassell 1996)
Hill J, ‘Working Class Realism I: Chapter’, Sex, class and realism: British cinema 1956-1963, vol bfi books (British Film Institute 1986) <https://blackboard.le.ac.uk/bbcswebdav/pid-529674-dt-content-rid-641595_5/library/eReserves/HA1114/HA1114%20-%20Doc%2012.pdf>
——, ‘From the New Wave to “Brit-Grit”: Continuity and Difference in Working Class Realism: Chapter’, British cinema: past and present (Routledge 2000)
Hillier, Jim, Cahiers Du Cinéma: The 1950s : Neo-Realism, Hollywood, New Wave, vol Harvard film studies (Harvard University Press 1985)
Hitchcock, Alfred and others, ‘Blackmail’
Hjort, Mette, Small Nation, Global Cinema: The New Danish Cinema, vol Public worlds (University of Minnesota Press 2005) <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10151328>
——, On The Five Obstructions, vol Dekalog (Wallflower 2008)
——, Lone Scherfig’s ‘Italian for Beginners’, vol Nordic film classics (University of Washington Press 2010)
Hjort, Mette and Bondebjerg, Ib, The Danish Directors: Dialogues on a Contemporary National Cinema (Intellect 2001) <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10120745>
Hjort, Mette and MacKenzie, Scott, Purity and Provocation: Dogma 95 (British Film Institute 2003)
Hovde, Ellen and others, ‘Grey Gardens [1975]’
Howe J, ‘Shorts and the Real World’ (2004) 4 Journal of Media Practice 177
Imre, Anikó, A Companion to Eastern European Cinemas, vol The Wiley-Blackwell companions to national cinemas (Wiley-Blackwell 2012) <http://site.ebrary.com/lib/leicester/Doc?id=10593125>
Iordanova, Dina, Cinema of the Other Europe: The Industry and Artistry of East Central European Film (Wallflower Press 2003)
——, The Cinema of the Balkans, vol 24 frames (Wallflower 2006)
Iordanova, Dina and British Film Institute, Cinema of Flames: Balkan Film, Culture and the Media (British Film Institute 2001)
Jarecki, Andrew, ‘Capturing the Friedmans’
Jenkins H, ‘The Work of Theory in the Age of Digital Transformation: Chapter’, A companion to film theory, vol Blackwell companions in cultural studies (Blackwell 1999)
Jennings H, ‘Listen to Britain’
Jerslev, Anne, Realism and ‘Reality’ in Film and Media, vol Northern lights film and media studies yearbook (Museum Tusculanum Press, University of Copenhagen 2002)
‘Journal of British Cinema and Television’ 11 <http://www.euppublishing.com/toc/jbctv/11/2-3>
‘——’ 10 <http://www.euppublishing.com/toc/jbctv/10/4>
Kael P, ‘Britain: Commitment and the Strait-Jacket’ (1961) 15 Film Quarterly 4
Kantaris G and O’Bryen R, Latin American Popular Culture: Politics, Media, Affect, vol Colección Támesis (Tamesis 2013) <http://site.ebrary.com/lib/leicester/Doc?id=10748380>
Kelly, Richard, The Name of This Book Is Dogme95 (Faber and Faber 2000)
Kelly RT, ‘Danish Cinema: Chapter’, The cinema book (3rd ed, British Film Institute 2007)
Kerins, Mark, Beyond Dolby (Stereo): Cinema in the Digital Sound Age (Indiana University Press 2010) <http://site.ebrary.com/lib/leicester/Doc?id=10437995>
Kopple, Barbara, Arthur, Paul, and Weisberger, Jon, ‘Harlan County U.S.A’
Korine, Harmony, Herzog, Werner, and Bremner, Ewen, ‘Julien Donkey-Boy’
Kracauer, Siegfried, Theory of Film: The Redemption of Physical Reality (Princeton University Press 1997)
Lacey, Stephen, British Realist Theatre: The New Wave in Its Context 1956-1965 (Routledge 1995) <http://site.ebrary.com/lib/leicester/Doc?id=10057538>
Laing, Stuart, Representations of Working-Class Life 1957-1964 (Macmillan 1986)
Landy, Marcia, Italian Film, vol National film traditions (Cambridge University Press 2000)
Lanzmann, Claude, ‘Shoah: A Film’
Lapsley R and Westlake M, ‘Realism: Chapter’, Film theory: an introduction, vol Images of culture (Manchester University Press 1988) <https://blackboard.le.ac.uk/bbcswebdav/pid-727207-dt-content-rid-1815038_5/library/eReserves/HA1114/HA1114_24151.pdf>
Lay S, ‘Good Intentions, High Hopes and Low Budgets: Contemporary Social Realist Film-Making in Britain’ (2007) 5 New Cinemas: Journal of Contemporary Film 231
Lay, Samantha, British Social Realism: From Documentary to Brit Grit (Wallflower 2002)
Layton, Bart, O’Brian, Adam, and Bourdin, Frédéric, ‘The Imposter’
Leggott, James, Contemporary British Cinema: From Heritage to Horror, vol Short cuts (Wallflower 2008)
Leth, Jørgen and Trier, Lars von, ‘De Fem Benspænd =: The Five Obstructions’
Levring, Kristian, Bohringer, Romane, and Anderson, Miles, ‘The King Is Alive’
Lister, Martin, New Media: A Critical Introduction (2nd ed, Routledge 2009) <http://ezproxy.lib.le.ac.uk/login?url=http://www.myilibrary.com?id=190114>
Livingston, Jennie and Dangerous to know, ‘Paris Is Burning’
LoBrutto V, ‘Birth of a Non-Fiction Style: The Thin Blue Line: Chapter’, Becoming film literate: the art and craft of motion pictures (Praeger 2005)
MacDougall D, ‘Beyond Observational Cinema: Chapter’, Movies and methods: an anthology, vol 2 (University of California Press 1985)
MacKillop, I. D. and Sinyard, Neil, British Cinema of the 1950s: A Celebration (Manchester University Press 2003) <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10074858>
Maggiorani, Lamberto and De Sica, Vittorio, ‘Ladri Di Biciclette =: Bicycle Thieves’
Mamber, Stephen, Cinéma Vérité in America: Studies in Uncontrolled Documentary, vol MIT press classic (Lightning Source)
Mamoulian R, ‘Applause’
Manovich L, ‘Old Media as New Media: Chapter’, The new media book (British Film Institute 2002) <https://blackboard.le.ac.uk/bbcswebdav/pid-354313-dt-content-rid-514951_5/library/eReserves/HA1114/HA1114%20-%20Doc%207.pdf>
——, ‘Digital Cinema and the History of a Moving Image: Chapter’, The film theory reader: debates and arguments (Routledge 2010)
Manovich, Lev, The Language of New Media (MIT 2001)
Marcus, Millicent, Italian Film in the Light of Neorealism (Princeton University Press 1986)
Marwick A, ‘Room at the Top, Saturday Night and Sunday Morning, and the “Cultural Revolution” in Britain’ (1984) 19 Journal of Contemporary History 127 <http://www.jstor.org/stable/260428>
Maysles, Albert, Maysles, David, and Zwerin, Charlotte, ‘Salesman’
McKoen J, ‘Frozen DVD’
McNab G, ‘The Big Tease: Article’ (1999) 9 Sight and sound: international film magazine 16
Meadows S, ‘Small Time / Where’s the Money Ronnie!’
——, ‘24 7: Twenty Four Seven’
——, ‘A Room For Romeo Brass’
——, ‘Dead Man’s Shoes’
——, ‘This Is England’
——, ‘Somers Town’
Meadows, Shane and others, ‘Once upon a Time in the Midlands’
Monk C, ‘From Underworld to Underclass: Crime and British Cinema in the 1990s: Chapter’, British crime cinema, vol British popular cinema (Routledge 1999) <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664950400002746&institutionId=2746&customerId=2745>
Moore, Michael, ‘Bowling for Columbine’
——, ‘Fahrenheit 9/11’
——, ‘Capitalism: A Love Story’
——, ‘Roger and Me’
Moore, Michael, Cervantes, Reggie, and Bush, George W., ‘Sicko’
Moritzen, Henning, Thomsen, Ulrich, and Vinterberg, Thomas, ‘Festen =: The Celebration’
Morris E, ‘The Unknown Known’
Morris, Errol, ‘Vernon, Florida’
——, ‘Gates of Heaven’
——, ‘The Thin Blue Line’
——, ‘Standard Operating Procedure’
Morris, Errol, Leutcher, Fred, and Pelt, R. J. van, ‘Mr. Death: The Rise and Fall of Fred A. Leuchter’
Morris, Errol and McNamara, Robert S, ‘The Fog of War’
Mungiu C, ‘Beyond the Hills DVD’
Mungiu, Cristian and others, ‘4 Luni, 3 Saptamâni Si 2 Zile =: 4 Months, 3 Weeks and 2 Days’
Murphy R, ‘A Savage Story of Lust and Ambition: Chapter’, Sixties British cinema, vol The history of the British film (BFI Publishing 1992) <https://blackboard.le.ac.uk/bbcswebdav/pid-529723-dt-content-rid-654814_5/library/eReserves/HA1114/HA1114%20-%20Doc%2014.PDF>
Murphy, Robert, The British Cinema Book (3rd ed, Palgrave Macmillan on behalf of the British Film Institute 2009)
Nagib L, Brazil on Screen: Cinema Novo, New Cinema, Utopia, vol Tauris world cinema series (I B Tauris 2007) <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10217783>
——, World Cinema and the Ethics of Realism (Continuum International Pub Group 2011)
Nagib L and University of Oxford. Centre for Brazilian Studies, The New Brazilian Cinema (IB Tauris in Association with the Centre for Brazilian Studies, University of Oxford 2003)
Newsinger J, ‘Structure and Agency: Shane Meadows and the New Regional Production Sectors: Chapter’, Shane Meadows (Edinburgh University Press 31AD) <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665215520002746&institutionId=2746&customerId=2745>
Nichols B, ‘The Voice of Documentary: Chapter’, New challenges for documentary (University of California Press 1988)
——, ‘Documentary: Chapter’, The cinema book (3rd ed, British Film Institute 2007)
——, ‘How Can We Describe the Observational, Participatory, Reflexive and Performative Modes of Documentary Film: Chapter’, Introduction to documentary (2nd ed, Indiana University Press 2010) <http://site.ebrary.com/lib/leicester/Doc?id=10437993>
Nichols, Mike and others, ‘The Graduate’
Nolan C, ‘Inception DVD’
Nowell-Smith G, ‘Bicycle Thieves: Chapter’, Film Analysis (WW Norton & Co 13AD)
O’Brien, Charles, Cinema’s Conversion to Sound: Technology and Film Style in France and the U.S. (Indiana University Press 2005) <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10118516>
O’Connell, P. J., Robert Drew and the Development of Cinema Verite in America (Southern Illinois University Press 2010) <http://site.ebrary.com/lib/leicester/Doc?id=10575417>
Ogborn K, ‘Pathways into the Industry: Chapter’, British cinema of the 90s (BFI Publishing 2000)
Oleszcyk M, ‘Living in a Goldfish Bowl’ (2008) 18 Sight and sound: international film magazine 12 <http://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=505263447&site=ehost-live>
Orr J, ‘New Directions in European Cinema: Chapter’, European cinema (Oxford University Press 2004)
Overbey, David, Springtime in Italy: A Reader on Neo-Realism (Talisman Books 1978)
Pennebaker, D. A. and others, ‘The War Room’
Plantinga C, ‘American Documentary in the 1980s: Chapter’, A new pot of gold: Hollywood under the electronic rainbow, 1980-1989, vol History of the American cinema (Charles Scribner’s Sons 2000) <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5665230250002746&institutionId=2746&customerId=2745>
Price B, Neither God nor Master: Robert Bresson and Radical Politics (University of Minnesota Press 2011) <http://site.ebrary.com/lib/leicester/Doc?id=10460997>
Prince S, ‘Painting with Digital Light: Chapter’, Digital visual effects in cinema: the seduction of reality (Rutgers University Press 2012) <http://le.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=5664951060002746&institutionId=2746&customerId=2745>
Puiu, Christi, Fiscuteanu, Ion, and Gheorghiu, Luminita, ‘Moartea Domnului Lazarescu =: The Death of Mr Lazarescu’
Purse, Lisa, Digital Imaging in Popular Cinema (Edinburgh University Press 2013)
Rafferty T, ‘The Thin Blue Line: Chapter’, Imagining reality: the Faber book of documentary (Rev ed, Faber 2006) <https://blackboard.le.ac.uk/bbcswebdav/pid-1025239-dt-content-rid-2569442_5/library/eReserves/HA1114/HA1114_35111.pdf>
Ratner M, ‘Stunted Lives : On 4 Months, 3 Weeks and 2 Days’ [2008] Bright lights film journal <http://brightlightsfilm.com/59/594months.php>
Reader K, Robert Bresson, vol French film directors (Manchester University Press 2000)
Reisz, Karel and others, ‘Saturday Night and Sunday Morning’
Renov M, ‘New Subjectivities: Documentary and Self-Representation in the Post-Vérité Age: Chapter’, The subject of documentary, vol Visible evidence (University of Minnesota Press 2004)
Richardson, Tony and others, ‘Look Back in Anger’
Richardson, Tony, Courtenay, Tom, and Sillitoe, Alan, ‘The Loneliness of the Long Distance Runner’
Robert B, ‘L’Argent’
Rockwell, John and British Film Institute, The Idiots, vol British Film Institute (BFI Pub 2003)
Rodowick, David Norman, The Virtual Life of Film (Harvard University Press 2007) <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10318536>
Rodrigues A and others, ‘Cidade de Deus =: City of God’
Rombes, Nicholas, Cinema in the Digital Age (Wallflower 2009)
Rosenheim S, ‘Interrotroning History: Errol Morris and the Documentary of the Future: Chapter’, The historical film: history and memory in media, vol Rutgers depth of field series (Rutgers University Press 2001)
Ross, Gary and others, ‘Pleasantville’
Rossellini, Roberto and others, Germania Anno Zero =: Germany Year Zero, vol Roberto Rossellini’s war trilogy (Special edition, Criterion 1948)
Rothman, William, Three Documentary Filmmakers: Errol Morris, Ross McElwee, Jean Rouch, vol Suny series horizons of cinema (State University of New York Press 2009)
——, Three Documentary Filmmakers: Errol Morris, Ross McElwee, Jean Rouch, vol Suny series horizons of cinema (State University of New York Press 2009)
Rouch, Jean, ‘Jean Rouch, Ciné-Rencontre’
——, ‘Jean Rouch, Ciné-Rouch’
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Rouch, Jean and Feld, Steven, Ciné-Ethnography, vol Visible evidence (University of Minnesota Press 2003) <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10151154>
Rouch, Jean and Morin, Edgar, ‘Chronique d’un Été (Paris 1960) =: Chronicle of a Summer’
Russell, Dave, Looking North: Northern England and the National Imagination, vol Studies in popular culture (Manchester University Press 2004)
Saunders, Dave, Visiting tutor in film studies at Royal Holloway, University of London [2007], Direct Cinema: Observational Documentary and the Politics of the Sixties (Wallflower 2007)
Sazio, Carmela and others, Paisà =: Paisan, vol Roberto Rossellini’s war trilogy (Special edition, Criterion 1946)
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Schlesinger, John and others, ‘A Kind of Loving’
——, ‘Billy Liar’
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Shail, Robert, Tony Richardson (Manchester University Press 2012)
Shary T and Seibel A, Youth Culture in Global Cinema (1st ed, University of Texas Press 2007) <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10245828>
Shiel, Mark, Italian Neorealism: Rebuilding the Cinematic City, vol Short cuts (Wallflower 2006)
Shuker, Gregory and others, Crisis, vol The Robert Drew collection (DocuRama 1963)
Simons, Jan, Playing the Waves: Lars Von Trier’s Game Cinema, vol Film culture in transition (Amsterdam University Press 2007) <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10281440>
——, Playing the Waves: Lars Von Trier’s Game Cinema, vol Film culture in transition (Amsterdam University Press 2007) <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10281440>
Smordoni, Rinaldo, Interlenghi, Franco, and De Sica, Vittorio, ‘Sciuscià =: Shoeshine’
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Spicer, Andrew, Typical Men: The Representation of Masculinity in Popular British Cinema, vol Cinema and society (IB Tauris Publishers 2001) <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10133040>
Spurlock, Morgan, ‘Super Size Me’
Stephen Prince, ‘True Lies: Perceptual Realism, Digital Images, and Film Theory’ (1996) 49 Film Quarterly 27 <http://www.jstor.org/stable/10.2307/1213468?Search=yes&resultItemClick=true&searchText="stephen prince"&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3D%2522stephen%2Bprince%2522%26amp%3Bfilter%3Djid%253A10.2307%252Fj100159%26amp%3BSearch%3DSearch%26amp%3Bwc%3Don%26amp%3Bfc%3Doff%26amp%3BglobalSearch%3D%26amp%3BsbbBox%3D%26amp%3BsbjBox%3D%26amp%3BsbpBox%3D>
——, ‘The Emergence of Filmic Artifacts: Cinema and Cinematography in the Digital Era’ (2004) 57 Film Quarterly 24 <http://www.jstor.org/stable/10.1525/fq.2004.57.3.24?Search=yes&resultItemClick=true&searchText="stephen prince"&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3D%2522stephen%2Bprince%2522%26amp%3Bfilter%3Djid%253A10.2307%252Fj100159%26amp%3BSearch%3DSearch%26amp%3Bwc%3Don%26amp%3Bfc%3Doff%26amp%3BglobalSearch%3D%26amp%3BsbbBox%3D%26amp%3BsbjBox%3D%26amp%3BsbpBox%3D>
Stevenson, Jack, Lars von Trier, vol World directors / British Film Institute (British Film Institute 2002)
Street, Sarah, British National Cinema, vol National cinemas series (2nd ed, Routledge 2009) <http://ezproxy.lib.le.ac.uk/login?url=http://www.myilibrary.com?id=212501>
Strickland P, ‘Berberian Sound Studio’
Sucsy, Michael and others, Grey Gardens [2009] (HBO 2009)
Thompson K, ‘Realism in the Cinema: Bicycle Thieves, Chapter’, Breaking the glass armor: neoformalist film analysis (Princeton University Press 1988)
Tinkcom, Matthew and British Film Institute, Grey Gardens (Palgrave Macmillan on behalf of the British Film Institute 2011)
Treadwell, Timothy and Herzog, Werner, ‘Grizzly Man’
Trier, Lars Von and others, ‘Breaking the Waves’
Trier, Lars von and others, ‘Idioterne =: The Idiots’
Trier, Lars von and Björkman, Stig, Trier on von Trier (Faber and Faber 2003)
Tucker, David, British Social Realism in the Arts since 1940 (Palgrave Macmillan 2011) <http://ezproxy.lib.le.ac.uk/login?url=http://www.palgraveconnect.com/doifinder/10.1057/9780230306387>
Tudor A, ‘The Many Mythologies of Realism’ (1972) 13 Screen 27
Tushingham, Rita, Richardson, Tony, and Delaney, Shelagh, ‘A Taste of Honey’
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Uricaru I, ‘4 Months, 3 Weeks, 2 Days: The Corruption of Intimacy’ (2008) 61 Film Quarterly 12
Uricaru, Ioana and others, ‘Amintiri Din Epoca de Aur =: Tales from the Golden Age’
Utterson, Andrew, Technology and Culture, the Film Reader, vol In focus: Routledge film readers (Routledge 2005)
——, From IBM to MGM: Cinema at the Dawn of the Digital Age (Palgrave Macmillan 2011)
Varda, Agnès, ‘Les Glaneurs et La Glaneuse =: The Gleaners and I’
Vernallis, Carol, Herzog, Amy, and Richardson, John (eds), The Oxford Handbook of Sound and Image in Digital Media, vol Oxford handbooks in music (Oxford University Press 2013)
Vice, Sue, Shoah, vol BFI film classics (BFI 2011)
Visconti, Luchino, ‘La Terra Trema =: The Earth Trembles’
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Vogels, Jonathan B., The Direct Cinema of David and Albert Maysles (Southern Illinois University Press 2005) <http://site.ebrary.com/lib/leicester/Doc?id=10469367>
Wagstaff, Christopher, Italian Neorealist Cinema: An Aesthetic Approach, vol Toronto Italian studies (University of Toronto Press 2007) <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10295298>
Walker, Alexander, Hollywood, England: The British Film Industry in the Sixties (Orion 2005)
Walters B, ‘Heartbreak Hotel’ (2008) 18 Sight and sound: international film magazine 54 <http://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=505263471&site=ehost-live>
Ward, Paul, Documentary: The Margins of Reality, vol Short cuts (Wallflower 2005)
Wayne M, ‘The Performing Northern Working Class in British Cinema: Cultural Representation and Its Political Economy’ (2006) 23 Quarterly Review of Film and Video 287
Wayne, Mike, The Politics of Contemporary European Cinema: Histories, Borders, Diasporas (Intellect 2002) <http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10015830>
Welles, Orson and others, ‘Touch of Evil’
Wexler, Mark S., ‘Tell Them Who You Are’
Williams, Christopher, Realism and the Cinema: A Reader, vol BFI readers in film studies (Routledge and Kegan Paul [for] British Film Institute 1980)
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Williams PA, ‘London to Brighton’
Williams R, ‘Realism: Chapter’, Keywords: a vocabulary of culture and society (Rev and expanded ed, Fontana 1988)
Willis, Holly, New Digital Cinema: Reinventing the Moving Image, vol Short cuts series (Wallflower Press 2005)
Wilson E, ‘4 Months, 3 Weeks, 2 Days: An "Abortion Movie”?’ (2008) 61 Film Quarterly 18
Winston B, The Documentary Film Book (Palgrave Macmillan 2013)
Wintonick, Peter, ‘Cinéma Vérité: Defining the Moment, the Story of Non-Fiction Filmmaking’
Wiseman, Frederick and Grant, Barry Keith, Five Films by Frederick Wiseman: Titicut Follies, High School, Welfare, High School II, Public Housing (University of California Press 2006)
Zavattini C, ‘Some Ideas on the Cinema: Chapter’, Vittorio De Sica: contemporary perspectives, vol Toronto Italian studies (University of Toronto Press 2000)
Zemeckis, Robert and others, ‘Forrest Gump’
Zidane, Zinédine, Gordon, Douglas, and Parreno, Philippe, ‘Zidane Un Portrait Du 21e Siècle =: Zidane a 21st Century Portrait’
